Tag Archives: art + science

conVerge: where art + science meet

February 1, 2002

conVerge: where art + science meet

converge
ConVerge was a project developed by the Art Gallery of South Australia and the Adelaide Festival 2002 that explored the nexus between art, science and technology and its creative expression and asks “what happens at these points of intersection?”

The project comprised:

2002 Adelaide Biennial of Australian Art – conVerge: where art and science meet, an exhibition which profiled a selection of work from Australian artists working with these themes in an exhibition at the Art Gallery of South Australia.

conVerge symposium: an opportunity to share ideas (at the Adelaide Festival 2002 and online) where opinions were expressedon: Image and Meaning, Knowledge Systems, Ecology, Genomics, Bioeconomics and Partnerships.

conVerge archive: a space for documenting projects, stimulating discussion and archiving conversations, email dialogues, hypotheticals, unrealisable projects, online discussions and forums.

Exhibiting artists: Oron Catts and Ionat Zurr, Justine Cooper, Rebecca Cummins, Adam Donovan, Fiona Hall, Jason Hampton, Nigel Helyer, Joyce Hinterding, Jon McCormack, Mangkaja artists, Patricia Piccinini, Lynne Sanderson, Mari Velonaki, Martin Walch.

conVerge curatorial working group comprised: Linda Cooper and Amanda McDonald Crowley, co-chairs. Jenny Fraser, Victoria Lynn, Karl Telfer, Sarah Thomas, Lynette Wallworth, Angharad Wynne-Jones.

Oron Catts & Ionat Zurr, Pig Wings, 2002

Oron Catts & Ionat Zurr, Pig Wings, 2002

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Alchemy: Masterclass for New Media Artists + Curators

May 1, 2000

alchemy

In 2000 ANAT (Australian Network for Art and Technology) convened ALCHEMY: the International Masterclass for New Media Artists and Curators.

The Masterclass took place in Brisbane in May and early June 2000. 16 tutors and 42 participating artists and curators explored new media practices, critical concepts for cross cultural collaboration and generally had an extraordinary time exploring with and playing in the newly opened Brisbane Powerhouse – Centre for the Live Arts, who partnered with ANAT on the realisation of this project.

Participants had 24 hour access to the equipment and the building and the project provided participants with an incredibly rich learning environment, both technically and conceptually. The masterclass engaged with a diverse range of topics. Themes included: science discourse; curatorial practice; net art practice; Indigenous and regional Asia Pacific issues; and performance and hybrid practices.

Participants for Alchemy were selected from a call for proposals distributed internationally in late 1999. The participants were chosen through their proposals, with reference both to the thematics and with geographical and cultural considerations also taken into account.

Alchemy participants:

Brook Andrews (NSW) Caroline Farmer (SA) Christian Thompson (Vic)
Clare McGrogan (Qld) Dena Curtis (NT) Gongxin Wang (China)
Hartanto (Indonesia) Jenny Fraser (Qld) Jo Law (WA)
Keith Armstrong (Qld) Kim Machan (Qld) Mae Adams (Vic)
Megan Rainey (SA) Monica Narula (India) Patricia Adams (Qld)
Raewyn Turner (NZ) Rebecca Youdell (Qld) Sam James (NSW)
Sarah Neville (SA) Shilpa Gupta (India) Steve Bull (WA)
Bruce Gladwin (Vic) Chris Dempsey (Qld) Christiawan (Indonesia)
Deborah Lawler-Dormer (NZ) Edwina Bartleme (Qld) Grisha Coleman (NY)
Jane Schneider (Qld) Jernej Kozar (Slovenia) Kamal Krishna (Qld)
Kelli Mccluskey (WA) Lisa Anderson (Qld) Jernej Kozar (Slovenia)
Mari Velonaki (NSW) Mike Stubbs (UK) Partha Pratim Sarker (Bangladesh)
Peter Toy (WA) Raul Ferrera (Mexico) Rolando Ramos (NSW)
Sarah Ryan (Tas) Sheridan Kennedy (NSW) Sophea Lerner (NSW)
Vanessa Mafe-Kean (Qld)

Tutors for the ALCHEMY MASTERCLASS:

Alexei Shulgin (Russia) Nina Czegledy (Canada) Mongrel (UK)
Geert Lovink (Aust and Netherlands) John Tonkin (Aust) Rea (Gamileroi/Wailwan)
Shudahabrata Sengupta (India) Sara Diamond (Canada) Marko Peljhan (Slovenia)
Tess de Quincy & Laura Jordan (Aust) Blast Theory (UK) Mike Stubbs (UK)

The project provided for an intensive and productive period for exploration, conversation and the generation of dialogue and new ideas. The masterclass included daily presentation and discussion periods, workshops, skillshares, and skills development opportunities. Weekly BBQ and performance events provided opportunities to network with local Brisbane artists and curators; evening events provided opportunities for lead tutors to present their work in public forums, and a performance evening at the conclusion of the masterclass provided participants with the opportunity to present work in progress to the greater Brisbane community. Technical Management: Martin Thompson; Project Management: Charity Bramwell; Project and Technical assistant: Tim Plaistead.

http://Alchemy.anat.org.au
http://alchemyinfo.anat.org.au
Please note these are historical sites – some links may no longer work

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deep immersion: scientific serendipity

January 1, 2000

deep immersion: scientific serendipity

Justine Cooper (NSW) at Museum of Natural History, New York

Justine Cooper (NSW) at Museum of Natural History, New York

In 1998, ANAT initiated Scientific Serendipity, a program which focussed on the interaction between art and science, providing a framework for the development of projects and commissions which directly engage with science, scientific visualisation techniques and technologies. This project initiated a number of residencies/research projects for Australian artists hosted by Australian and international scientific organisations. The aim of the residencies was to investigate the discrete discourses surrounding sciences and media arts and encourage the generation of unexpected and ‘alchemic’ outcomes.

Four residencies were held over 1999 – 2001. The host organisation provided a work space, some technical support and the critical context of a science research community. ANAT provided artist fees, materials support and some travel and living expenses. Three of the residencies (Oron Catts & Ionat Zurrr, Justine Cooper and Adam Donovan) were hosted in science institutions and the fourth by David Rogers was conducted independently with some support from members of the scientific community.

The program was initially conceived as part of the extended programming series deep immersion, developed in collaboration with Francesca da Rimini.

The deep immersion series also included deep immersion: creative collaboration, a series of online virtual collaborative residencies; deep immersion: regional realities a program which looked to develop networks between artists in Australia and Asia; and deep immersion: theology, a experimental research thread (led by Samara Mitchell) examining the crossroads of science, technology, ethics and religion within contemporary cultural practices and social structures.

deep immersion: scientific serendipity was further developed and refined in collaboration with Honor Harger and co-curated with Linda Cooper.

More information about the scientific serendipity residencies is available here.

A publication documenting the program, edited by Julianne Pierce, artist interviews conducted by Kathy Cleland plus illustrations, statements from host organisations, and with contributions by Linda Cooper, Terry Cutler and a commentary by Rich Gold is available to read on the ANAT web site here.

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